Brief introduction and detailed information of Deng Jichen

Characters experience, born in Nanhai, Guangdong, 19 12 February 17, was born as a broadcast host. He was able to independently create eight different voices to interpret humorous radio dramas, which made a sensation and won the reputation of "the king of humorous dramas". His voice in "Li" was hosted by "Deng Ji Chen Comedy" from Monday to Saturday at noon 12: 30. He talked for more than 20 years ... A versatile artist performed Cantonese opera in Guangzhou as early as 1940s and was recommended by Li to come to Hong Kong to perform for Li (1950). He soon entered the film industry, became a famous comedian, and recorded humorous Cantonese songs and. Mexican girl >,< Feige falls into a ditch >; (Chorus: Li Baoying, Zheng Kunmin); (Chorus: Biying Zheng) and so on.

Deng Jican began to make movies from 65438 to 0950, most of which were humorous comedies, especially the "Two Silly" series with Sun Ma Shizeng. Deng Jican's films include Lost Fish (195 1), Crossroads (1955), Chen in the ridiculous mirror (1957) and Two Fools Traveling to Heaven (/kloc-0).

Deng Jichang 1975 immigrated to Canada and faded out of the art world. However, over the years, he has also made guest appearances in the Hong Kong film Ghost Horse and the Shi Tian version of Chasing Women. 199 1 passed away in America on July 2nd at the age of 78.

My main job is to participate in the release time of movie titles, play roles, direct co-actors, and two silly boys compete for old beans.

1964

Bauer

Luo

Lam Ka-Sing

Lord of all things

1964

Li Xide

Chen zhuosheng

Sun-Ma Sze-Tsang

Bad gambling and being a wife

1964

Two relatives who live next door across the fence.

1964

Zhang

Longtu

Junli Wu

Half a bed

1964

Uncle Qian Liu Shu

Hesheng Huang

Lizhen Yu

Bride on the ground floor of the building

1964

Chen Ding

pearl

Lam Ka-Sing

An anxious bride/funny bride

1964

Bad bet two

Huang Yao

Biyun Deng

Have a unrequited love (for sb).

1964

Le Kevin·Z

Tie Li

Ma zhaoci

Gualong world

1964

Promised Land

1963

.. Jin Dafu

Kangshi Mu

Louming Bai

Salaried wife

1963

Three fools are looking for their daughter.

1963

Deng Renqing

Kangshi Mu

Lam Ka-Sing

stop a thief

1962

Li qi

Lin Anheng

with a smiling face

Cold war couple

1962

Junli Wu

Daughter by the roadside

1962

The female swordsman and her seven companions

1962

Goddess of the sea

1962

Goddess of the sea

1962

Secretary Huang

Gongliang Yang

Sun-Ma Sze-Tsang

The female swordsman and her seven companions

1962

White olive powder

Lihua

Jiahui Ou

Benefit from misfortune

1962

Wai Gwong Cheung

Sun-Ma Sze-Tsang

hit the jackpot

196 1

Sunday de

Bong Luk

Sun-Ma Sze-Tsang

Stupid rich husband

196 1

Kangshi Mu

Ying Cheung

hit the jackpot

196 1

Stupid rich husband

196 1

Take a wife by installment

196 1

Zhang Zichao

Gongliang Yang

Sun-Ma Sze-Tsang

Take a wife by installment

196 1

They all say I do.

1960

Zhu Shilin

Hong Chu

Yafu's right or wrong horse ticket

1960

potato

Gongliang Yang

Sun-Ma Sze-Tsang

Benefit from misfortune

1960

Du Yiming

Wai Gwong Cheung

Sun-Ma Sze-Tsang

Great Collection of King Fa of Wulong

1960

. Tsim Sha Tsui Mao

pearl

Liang Xingbo

Wu Longwang flew to Yanfu.

1960

pearl

Liang Xingbo

Two idiots chasing ghosts

1959

Li Liu

Chi-Kong Fung

Sun-Ma Sze-Tsang

Love under festive lanterns

1959

Jin Fu

Dai Huang

Jianhui Ren

The second ancestor, asked M, was blind.

1959

Dried orange peel

Feng Huiwen

Plantagenet essence

1959

Dai delu

pearl

Lizhen Yu

Wish husband and wife peace.

1959

Deshu

Hu Peng

Sun-Ma Sze-Tsang

Two stupid men who know too much.

1959

Liu Li

Chi-Kong Fung

Sun-Ma Sze-Tsang

Peeing couple

1959

Fu; Feed unit

Li yingyuan

Ying Cheung

wrong number

1959

Deng Zhaobing

Two big bubbles and

1959

Deng Renqing

Longtu

Kwan-Min Cheng

A great chance of success

1959

pearl

Pickled plums/plums

Lucky prankster

1959

Lin zhenxing

Hu Peng

Sun-Ma Sze-Tsang

Ah Fu is a soldier.

1959

Zhang Shou

Wai Gwong Cheung

Sun-Ma Sze-Tsang

Cai fengxi welcomes the spring

1958

Yang en

This sword

1958

Huang Ming

Gongliang Yang

Sun-Ma Sze-Tsang

What's in heaven is stupid.

1958

Joanmi Huang

Gongliang Yang

Li bingna

Beautiful rickshaw puller.

1958

Wang Yawei

Lottery seller

1958

Uncle shui

Kangshi Mu

Fang yanfen

Two idiots went to hell.

1958

Joanmi Huang

Liudu He Xiangu

1957

Litieguai

Chi-Kong Fung

Junli Wu

Ridiculous mirror five fights, Chen

1957

Sha Chao

Hesheng Huang

Bo-young Lee

Love your enemies.

1957

Chen shunan

Kangshi Mu

Fang yanfen

The absurd mirror twisted the officer to death.

1957

Sha Chao

Song Wu's blood splashed on the lion building.

1956

Dalang Wu

Hu Peng

Dexing Guan

A happy marriage/a hundred years of summer

1956

Wai Gwong Cheung

Fang yanfen

Silly elder sister

1956

As rich as a cloud

1956

Moming

Chi-Kong Fung

Hung Sin-nui

Endless hostility of love

1955

History of Ren Jianhui's Stage Struggle

1955

Cheng xiayun

Snow White and her seven friends.

1955

He keren

Zhou Shilu

Ng Dan Fung

Mr. Wang Yu

1955

Mr.wang

chink

Nam Sze Tsang

Streets criss-crossing

1955

Ludanan

Kangshi Mu

Ying Cheung

The Prince and the Pauper

1955

Seven weeks

Longtu

Sun-Ma Sze-Tsang

Well, it's good to be a matchmaker for three generations.

1955

Spring fills the west wing.

1955

Fu; Feed unit

Wenqing Guan

JIA Yu

Spring fills the west wing.

1955

Wu De

Sister flowers before Buddha

1955

Wu De

Wai Gwong Cheung

king

true and false qianjin

1955

Chen Yiduo

Happy together

1953

It is better to have a mother than to have a mother.

1953

Old uncle

Chi-Kong Fung

He fanfei

Have a heart and not eat.

1953

Yu banxian

Ng Wui

Yin Pak

Opportunity knocks at the door

1953

First love

1953

Ye Tiansheng

Wai Gwong Cheung

Ma Jinling

Passionate pink

1953

Yu He

Opportunity knocks at the door

1953

Zhang ahu

Species in Sangechen Village

1952

Shazhen town

Chi-Kong Fung

Sun-Ma Sze-Tsang

Laughing comet landed on the earth

1952

Ken

Liang feng

Yanqing Luo

Yanfuqitian

1952

Tailor Zhang Jinfa

Wai Gwong Cheung

Fang yanfen

The intoxication of spring nights

1952

Clowns; Joker

Hu Peng

Cho-fan Ng

Idiot's wedding night

1952

Liang Xiaoping

Zhou Shilu

Yanqing Luo

Liang da a dou Guan

1952

Long Zhu Chen (Dou Guan)

Zhou Shilu

Patricia Joe

Zhang Tianshi meets ghost fans.

1952

Erer

Guanyinbing

1952

Jia ou bing Rong

1952

Adjutant Zhang quan

Kangshi Mu

He fanfei

Biography of Seven Friends of Gu Jian

1952

White olive powder

Lihua

Jiahui Ou

Point to heaven and earth

195 1

Zhou Shilu

Nam Sze Tsang

Wulong couple

1950

week

Ren Hu Hua

Yin Pak

Let scholars eat like dogs.

1950

Jin Fu

Gongliang Yang

Junli Wu

Snake man

1950

Zhou Shilu

Patricia Joe

Five blessings came to this house.

1950

Dengjiafu

Ren Hu Hua

Sun-Ma Sze-Tsang

Lyrics: Gu Jiahui Lyrics: Don't be so sad, Deng. You don't have to chase fate like ice charcoal, but you still don't worry. Don't worry. Don't be sad. Don't ruin the old friendship. How can you ask that laugh? I am convinced that when we meet again, we will be gentle. If you are drunk, you will be afraid to face emptiness. Don't let a tear fall in your heart. Don't be sad. Just remember how you two feel in your heart. If we stay in the depths, no matter how we meet, you can make me believe that the future meeting will be gentle. If our hearts are intoxicated, we will be afraid to face emptiness. Even if we face the past and today, we will send a little tear to our hearts. Don't be entangled and scattered again. We just want to keep our feelings in the hearts of two people. If you stay in the depths, no matter how you get together, you will not die.

Hong Kong Film History Hong Kong films quickly revived after World War II, but gradually flourished after 1949, which is not without reason. After 1949, a large number of mainland Chinese filmmakers went south one after another for political and economic reasons, and set up film factories in Hong Kong to cooperate with local filmmakers to shoot Chinese and Cantonese films, making Hong Kong the only and largest film center in South China. In addition, in the mid-1950s, the stars and Malaysian film forces moved to Hong Kong, which was already impacted by the film culture of the United States, Japan and Europe, making Hong Kong films move towards a mature embryonic form.

The 1950s and 1960s were the period when Cantonese films took off in China, and from the late 40s to the mid 1960s, Cantonese films flourished. Cantonese movies in this golden age have the following main trends:

1. Cantonese opera movies

It is estimated that in the 1950s, there were 200 Cantonese operas in opera films every year. Almost one out of every three Cantonese operas is Cantonese opera, which reached its peak at 1958. Cantonese opera accounted for half of the 160 films of that year.

"Stage-style" Cantonese opera films are basically not expensive to produce, and the film skills are not particularly elegant, because most of them follow the performances of Xian Yi, old and young, on the Cantonese opera stage, singing only the main plot, and the rest are not strict. Therefore, most of these operas are ridiculed as "five-day freshness" and "seven-day freshness". Of course, there are also many immortal classics that have been elaborately produced and are still talked about by people, such as The Flower of the King (1959), The Story of the Purple Hairpin (1959) and Li Houzhu (1968). Actors in opera films also have many familiar names, including: Ren Jianhui, Bai Xuexian, Sun Ma Shizeng, Xue Juexian and Lin Jiasheng.

As for Cantonese opera opera film, why was it so popular in the 1950s? This is because Cantonese opera flourished after the war, and going to the theater in the shed became a consumption enjoyment of the upper class. As for the general public who only listen to radio dramas or Cantonese operas, in view of this, film companies have made a large number of classic Cantonese operas into movies, so that opera fans can enjoy traditional Cantonese operas with low tickets.

4. Literary films

Most of the literary films in this period were set in the Republic of China or contemporary times, emphasizing the drama structure, or adapted from Chinese and foreign literature and popular novels, or copied the story mode of Hollywood popular dramas. Speaking of this kind of literary film about family ethics and love between men and women, we have to mention the leader of Guangdong film company: United Film Co., Ltd. "Zhonglian".

"Zhonglian" was founded in 1952, and * * * has produced 44 films, and produced many classics in Cantonese films, such as Li Tie's Spring Dawn in a Dangerous Building (1953), Forever (1955) and Chu Yuan's Poor People Inherit the Wind (66.

The 2 1 elites of Zhonglian found that the film industry was full of unhealthy trends, so they founded Zhonglian on the premise of serious shooting attitude and healthy film belief to fight against vulgar hype and inferior "seven-day fresh" goods. These film elites include directors Li Tie and Ng Wui and 13 famous actors: Wu Chufan, Zhang Ai, Zhang Huoyou, Bai Yan, Man-lei Wong, Ziluolian and so on.

"Zhonglian" films often criticize the hypocrisy and ugliness of high-class tycoons in view of various problems in Hong Kong society, which has a strong educational significance and greatly improves the aesthetic level of China films. Probably because it is too obsessed with the traditional moral mission, "Zhonglian" is gradually out of touch with the times. To 1967, it closed with the decline of Cantonese films, but its influence on Hong Kong films can not be ignored.

3. Costume martial arts films

In the 1950s, most of the costume martial arts films were based on the stories of chivalrous monsters familiar to ordinary people, but the martial arts scenes were not realistic. In the later period (early 1960s), more and more attention was paid to the design of action scenes, and a large number of special effects (such as monsters, weird costumes and model stunts) were added. Cao Dahua and Yu Suqiu performed many such costume martial arts films, such as the Tathagata Palm Series.

4. Happy farce.

Most of these films are headed by humorous comedians, and the scenes are nothing more than stories such as "the big village goes out of the city" and "the toad wants to eat swan meat", such as the "two fools" series starring Sun Ma Shizeng and Deng Jichen.

Although the above-mentioned types of Cantonese films are slightly rough in film aesthetics, they are more than enough to bring viewers * * *, so it is no wonder that the output of Cantonese films during this period is considerable, making Cantonese opera films reach their peak.

In fact, from 1967 to 1969, the output of Cantonese films was still higher than that of Mandarin films, and it was only from 1969 to 1970 that the situation began to reverse.

The turning point of Mandarin films from low to high was the reorganization of "international distribution company" and Shaw's father and son in the mid-1950s, which became "film industry company" and "Shaw (brother) company" respectively. "Shaw" and "Dianmao" are rich in capital and ambitious. After reorganization, they are determined to make great achievements in the Hong Kong film industry. They not only fully promote Mandarin films, but also establish a perfect distribution network to open up overseas markets.

1957, Shao Yifu took the helm of "Shaw" and produced a large number of high-quality films. The earliest successful works were "Jiangshan Beauty" and "Love Without Love" directed by Li Hanxiang, which achieved unprecedented box office results of "100,000". Shaw's films are luxurious and gorgeous, and the "rags" in Cantonese films are dwarfed. In addition, quality is more important than weight, and there are few films that are "fresh for seven days".

The upsurge of Mandarin movies not only brought Huangmei-tune movies, which originated in China, to Hong Kong and became popular for a while, but also created new martial arts movies, including The Legend of the Condor Heroes, an adaptation of Jin Yong and Liang Yusheng directed by Hu Peng (1959). Only in 1963, the output of martial arts films has reached 6 1, and the masterpieces of martial arts films are Longmen Inn in Hu Jinquan (1966) and one-armed knife in Zhang Che (1967). The appearance of martial arts stars and kings is also regarded as a prelude to the rise of Bruce Lee in 1970s.

In fact, since the 1950s, Chinese movies and Cantonese movies have indeed coexisted. Although there is competition between them, they are compatible in essence. However, with the rapid development of Mandarin films from 1970, Cantonese films are scarce. During the period of 197 1, the output of Mandarin films was as high as 1 16, while Cantonese films were only 22. During the period of 197 1- 1972, the number of Chinese films still increased. On the other hand, there is only one Cantonese film left, and that is Miss Fan starring Teresa Teng. In the following years, Mandarin films have been leading the Hong Kong film market.

Finally, it is worth mentioning that in the late 1960s, although Cantonese unilaterally threatened to dominate the Chinese film market, it still made efforts to make a breakthrough in genre. Youth musical films came into being at the historic moment. At that time, two young idols, Xiao Fangfang and Chen Baozhu, were born, and the cult of idols in the film industry can be said to have started from them.